I was mildly annoyed that the must-see “Matrix Resurrections” (HBO Max) cut into my Christmas-movie viewing time. But actually, this fourth entry fits thematically with “It’s a Wonderful Life.” Or, to use geekier examples, Philip K. Dick’s “Man in the High Castle” and the “Buffy” episode “The Wish.”
A solo Wachowski
Director/co-writer Lana Wachowski, sans sister Lilly, teams with “Sense8” writers David Mitchell and Aleksandar Hemon to deliver an initially melancholy and nostalgic story. “Resurrections” touches on garbled old coding, depression and psychiatry, and the commercialism of the reboot phenomenon, all while working toward its own identity.
This is a “Matrix” movie, and it’s part of a series, as regular snippets from “The Matrix,” “The Matrix Reloaded” and “The Matrix Revolutions” remind us. But it’s also its own thing. Never before has the series gone on such a wry meta-comedic riff as it does with the setup here.
(SPOILERS FOLLOW.)
“The Matrix Resurrections” (2021)
Director: Lana Wachowski
Writers: Lana Wachowski, David Mitchell, Aleksandar Hemon
Stars: Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II
Thomas Anderson (Keanu Reeves) is a successful game designer in the rebooted Matrix. I love how Lana flips the script: This time around the Neo-to-be doesn’t need as much convincing that his faux-2021 isn’t the real world. He fights the revelation because it’s disconcerting, not because he doesn’t believe it.
Given the opportunity to tell the old story in a new way, Lana emphasizes the binary “Chosen One” status of Neo and Trinity (Carrie-Anne Moss), which was hinted at in “Revolutions.” She also makes Neo and Morpheus (Yahya Abdul-Mateen II) teachers to each other.
“Resurrections” has an undercurrent of nostalgia and a taste of overindulgence. But the vibe serves the story well, because it’s what Thomas/Neo is feeling. Same with Tiffany/Trinity, who is married with kids but was never sure if this was her own desire or society’s desire implanted upon her.
No cynicism
In this era of revisitations, “Resurrections” is easily one of the best. Whether you love it or merely tolerate it will depend on how much you forgive the existence of this trend. For me, it’s akin to the fun “Terminator Genisys” in the way it overlaps with the original material but re-examines old themes.
But in this case, it comes from one of the original’s creators. And although we only get half the Wachowskis, we get all of the fun of a “Matrix” movie. I don’t sense any cynicism from Lana, even when the film itself winks at us.
At Thomas’ game-design firm, the boss notes that Warner Bros. can make a fourth “Matrix” game without the creator’s approval. If that’s the also case with the fourth “Matrix” film, Lana shows no bitterness.
We don’t get the groundbreaking headiness of the 1999 “Matrix”; that’s probably impossible. But this entry is more loaded with ideas than the first two sequels, which leaned into the action.
“Resurrections’ ” action, while nicely choreographed, is familiar. When helicopter machine guns spew bullets at Neo and Trinity, I can imagine Lana thinking “Should we repeat the classic shot of the bullets falling to the ground?” She’s damned if she does, damned if she doesn’t, so she gives us a quick flash.
There’s also a train fight in the Matrix where the villains wear facemasks, an amusing nod to the real 2021’s pandemic. It’s not bad, but for thrills it trails the bus fights of “Nobody” and “Shang-Chi.”
Game for their return
Like the director, Reeves and Moss are game for making a worthwhile sequel. Maybe neither actor will be accused of having huge range, but they are great in these roles. Although Neo and Trinity could theoretically look different in this new Matrix, “Resurrections” would be a much lesser project without these actors.
Laurence Fishburne’s Morpheus is gone, but it’s not a bad move to set the mentor aside for this fresh hero’s journey. Besides, Abdul-Mateen II gives a suave younger take. Jessica Henwick is in every geeky property nowadays – see also the voice lead on “Blade Runner: Black Lotus” – and I’m happy to see her as Bugs, the liaison into the new Matrix.
Toby Onwumere, as code-reader Seq, is our window into new tech. Instead of communicating by headset, Seq appears within the action scenes. But he’s not really there; it’s just that his colleagues can see his image.
Also effectively used are Neil Patrick Harris as the smoothly arrogant Analyst, and Jada Pinkett Smith, with decent old-age makeup. And it’s nice to see “Speed Racer’s” Christina Ricci, even if her role is a thank-you cameo because she likes working with Lana.
“Resurrections” continues what might be the most remarkable achievement of this saga. Despite being immersed in coding and digitization, and despite blurring reality with artificiality, the “Matrix” universe has serious stakes.
Everything is real to the person experiencing it. I kept this in mind as the code blurred past, and I enjoyed the ride. On a rewatch, I’ll try to absorb more details.